A ‘first-take’ made on a rainy day. First in a new series of studies (‘#onetakestudy’) that folows on from the #lockdownminiature series, and on parallel tracks to #spliceimprov.
I’m not 100% sure this improvisation holds focus entirely for its duration, and it could do, for my taste as a listener, with more contrast, but it meanders in a pleasing way. A kind of reverie on an overcast day. Enjoy.
As the looper becomes more a part of my sound, I begin to again question the disconnect between gesture—visible, weighty—and the auditory. As I watch myself in play (in video playback), I find myself alienated from the experience. [Read the rest…]
See the pinned comment to read my thoughts about this piece, and what I think doesn’t work about it.
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
It’s an unusual situation for me, as an improviser, whose work depends on a certain kind of immediacy of response—of audience feedback—to present a work for the first time ‘for real’ after having lived with it for this long. ‘Nervously excited’ doesn’t even begin to describe how I’m feeling. Please, please join me next week on this moment of discovery.
The music on this album transports me to scenes from retro-scifi stories to those of present-day mass transit. It is, to my ears, the sounds of junction crossings, signals from space, and mysterious telegraphy; sometimes evoking impressions of walking by streams under footbridges, at others, of rushing through Manhattan Chinatown. Recorded live at Cafe OTO during the trio’s first meeting, we knew then that we had something special.
I think the sounds and the performances on this disc are all ’round captivating, gripping and fascinating, and the production work, exceptional. Take the journey with us: I’m super proud of the music, and I am thrilled to finally share this with you!
Get ready for the latest release of challenging and imaginative music from Ramble Records with Juno 3, the debut album from the trio of Han-earl Park, Lara Jones and Pat Thomas. Recorded by Shaun Crook live at Cafe OTO, London, and mixed (refracted and rephrased) by Han-earl Park, the album is a particle sim of sounds which spelunks from derelict urban ravines to cybernetic rainforests, while catching auditory glimpses of crashing robotic waves, and strange telegraphic messages from space.
Nautiloid capsule tumbles
across field lines.
An impracticably agile,
graceful derailment.
Juno 3 is Han-earl Park (guitar), Lara Jones (saxophone and electronics) and Pat Thomas (electronics). The eponymous album document the first meeting—interactive, relational—by this trio as it takes a journey: launching from the familiar of the Hackney club space into future imagined By Others. We coax it into our space.
Motion and motifs. (Switching gears, shedding engines.) Modes of transport change from first principles: future-past transit networks give way to bioengineered surfboards.
Bodies collide, unwind, and we’re up again. Reaching crossings; navigating junctions.
Intermodal is the only game we know. Networks (and bodies and vessels) weave, twist, cross then interweave, intertwist and intercross. (We, nocturnal monstrous shapes, turn and return to the deep.)
And, as the album comes to a close (thump’n’snap—bodies unwind), we find ourselves awakened back in the familiar club space. Or: half familiar. The same chairs, the same tables, the same staff. But not the same chair, not the same table, not the same staff.
Orbital Dusk I (6:04), Orbital Dusk II (4:20), Orbital Dusk III (2:29), Orbital Dusk IV (6:03), Diel Vertical Migration I (6:31), Diel Vertical Migration II (4:38), Diel Vertical Migration III (4:33), Diel Vertical Migration IV (7:36), Metastability (7:24). Total duration: 49:36.
Recorded live March 20, 2022, Cafe OTO, London.
Recorded by Shaun Crook.
Mixed by Han-earl Park. Mastered by Chris Sharkey.
Art by Han-earl Park. Design by Atharwa Deshingkar.
Thanks to Richard Barrett, Heather Frasch and Richard Scott; to Fielding Hope and everyone at Cafe OTO, Laura Cole and everyone at Fusebox, Wesley Stephenson of Jazz North East, and Peter O’Doherty of Northern Lights Project. Shoutouts to Corey Mwamba, Graeme Wilson, rit. and Una Lee. The performance was presented with funding from the Berlin Senate Department for Culture and Europe.
Was passiert mit Interaktion, wenn Geste und Kontext aufgrund von Distanz nicht mehr vorhanden sind? Han-earl Park und Carina Khorkhordina stellen jeweils ihre Kompositionen für Solo-Improvisatoren und Videoprojektion vor. Aufbauend auf ihrer Arbeit, die sie vor (und während) der “all-our-lockdowns” entwickelt haben, ist SPLICE eine spielerische, lautstarke Erkundung schräger Fiktionen im ‘Hier und Jetzt’ und des ‘Dann und Dorthin.’
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
Improviser, guitarist and constructor Han-earl Park (박한얼) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe, Korea and the USA.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky; Juno 3 with Lara Jones and Pat Thomas; and Sirene 1009 with Dominic Lash, Mark Sanders and rit.; and has a duo with Richard Barrett. He is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Pauline Oliveros, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury and Franziska Schroeder.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). His recordings have been released by labels including NEWJAiM, SLAM Productions and DUNS Limited Edition. Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
Carina Khorkhordina is a trumpet player, photographer and an interdisciplinary artsit living in Berlin since 2014. Aside from developing her music on the trumpet and playing concerts she is working on a series of site-specific performances in the public space of Berlin in collaboration with different musicians, presented as short films and bringing together her interest in urban space, sonic possibilities of the trumpet, field recordings and video documentation.
She has been performing in the context of improvised and experimental music since 2017. The active groups include the duo with Eric Bauer, Slurge (with Eric Bauer, Burkhard Beins, Wolfgang Seidel), Klub Demboh, the duo with Axel Dörner and the trio with Eric Bauer and Lena Czerniawska, as well as a variety of ongoing collaborations.
Between 2016 and 2020 she was a student of various photography programs at FotoDepartament Institute in St. Petersburg, Russia.
Juno 3 by Han-earl Park, Lara Jones and Pat Thomas will be released by Ramble Records in September 2023! As I said to Chris Sharkey, the mastering engineer, this album exists somewhere “between an audio play and a soundtrack album, as if Bernie Worrell had been tasked to create a score for a Douglas Adams produced radio adaptation of Space: 1999.” More soon!
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A ‘first-take’ ditty (it’s been a while since I posted a straightforward improvisation without any videographic or compositional concerns). I think maybe the first thirty seconds or so is a bit shaky, but I’m pretty happy with my playing here overall. I think it shows what I’ve been interested in, and working on, in regards to my approach to the guitar in the context of improvisation.
And a big, big thanks again to Musikfonds / Neustart Kultur for enabling me to continue, and build-on, these studies.
